Tuesday, June 26, 2018

In this article, game writer Sande Chen discusses how the VR experience impacts empathetic responses.

There's been a lot in the news lately about empathy and/or lack of empathy. Can VR storytelling promote empathy for social impact or is it ultimately a misguided experience, even a form of "disaster porn"?

Dan Archer, a 2016 Tow Fellow researching VR journalism, writes in his article, "Dismantling the Metrics of Empathy (in 360 Video)," that storytellers need to walk a fine line in depicting hardship and suffering. There's a danger in "too much empathy" since the extreme discomfort felt by viewers translates into revulsion and the opposite of the desired effect. Moreover, oversaturation can lead to "psychic numbing" as viewers dismiss and try to block sympathy towards mass suffering. That's why, as noted in "Statistics vs. Stories," people can empathize with an individual's story, but don't really emotionally connect to statistics.

In fact, in Archer's research, the team found that too much familiarity in a subject led to less emotional impact. Oversaturation of refugee news stories resulted in less immersion in the VR setting. Those who weren't familiar with the stories and said they were not really that interested in the topic had the most empathetic responses.

However, compared to traditional text or photo spreads, VR was generally better at motivating users to learn more about the subject and take social action. In particular, VR experiences with clear protagonists and narrative especially heightened empathetic connection since the viewers' sense of closeness to the characters helped to increase the level of immersion. The more the participants trusted the narrator, the more engaged and connected they were.

One disadvantage to VR, though, was the complaints users had about uncomfortable headsets. This may preclude longer-form pieces until a solution is found. At present, most cinematic VR is around 5 minutes long, which may not allow for in-depth treatment of a topic.

VR storytelling definitely has the potential to affect minds and hearts through its use in journalism, film, and social impact games, but storytellers will have to carefully consider how the presentation of their stories will impact users.

Sande Chen is a writer and game designer whose work has spanned 10 years in the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher, and Wizard 101. She is one of the founding members of the IGDA Game Design SIG.

Thursday, June 7, 2018

In this article, game designer Sande Chen discusses what's available for teachers to give students immersive educational experiences.

In Ernest Cline's bestselling novel, Ready Player One, the main character Wade Watts describes his online lessons on the virtual planet Ludus. Unlike the online courses of today, which mostly consist of videos, forums, and multiple choice tests, Wade's classroom is far from dull. His World History class takes his avatar to Egypt where the teacher can flip through different time zones, showing ancient Egypt and then when King Tut's tomb is discovered. He can walk through the chambers of the heart and the aorta or visit the moons of Neptune.

Though this seems like something out of the holodeck, we can already virtually enter space, go inside the body, swim underwater, and travel to distant lands. Google Expeditions is available for teachers in VR and AR. More than one million students in 11 countries have gone on these virtual field trips.

If VR and AR sounds too technically challenging, remember there's still MineCraft. While the simulation won't be as immersive as VR or AR, students can still have the thrill of visiting different worlds. Take a look at what the Tate Gallery did to showcase famous art movements like Surrealism.

Sure, none of these options have 100% sensory output or the classroom controls teachers would love that automatically warn disruptive students, but we can still bring excitement and immersiveness of virtual worlds to classrooms today.

Sande
Chen is a writer and game designer whose work has spanned 10 years in
the industry. Her credits include 1999 IGF winner Terminus, 2007 PC RPG
of the Year The Witcher, and Wizard 101. She is one of the founding
members of the IGDA Game Design SIG.